1:17:00
right, well, I think
we should call it a morning.
1:17:05
all right?
1:17:06
couldn't be better.
1:17:07
good reading. pleased with the company?
1:17:10
you've cast it splendidly.
1:17:13
the girl's clever, isn't she?
1:17:15
yes, isn't she?
1:17:17
well, give my love to Roger. ta.
1:17:22
I wouldn't say this to your face,
1:17:24
so I'll say it
to your back.
1:17:27
I've missed you.
1:17:29
and I've missed you, Evie.
1:17:48
I did the usual things.
1:17:49
I saw the sights. worked
hard at my Italian.
1:17:53
and went to the opera a good deal.
1:17:54
have you made up your mind
what you're going to do yet?
1:17:58
I want to stop living
1:17:59
in an atmosphere of make-believe.
1:18:01
that's your world, not mine.
1:18:03
and it stifles me.
1:18:06
what do you mean?
1:18:07
once, when I was a kid,
1:18:08
I was standing in the
wings watching you on-stage.
1:18:12
it must've been a pretty moving scene
1:18:14
because I couldn't stop blubbing.
1:18:16
you moved to the side of the stage
1:18:18
near where I was standing
1:18:19
and you turned your back on
the audience, and you said,
1:18:22
in your ordinary voice:
1:18:24
"what the bloody hell the
electrician thought he was doing
1:18:27
with the bright lights."
1:18:27
and then in the same breath,
with a great cry of anguish
1:18:31
you just went on with the scene.
1:18:33
that was acting.
1:18:37
if I-- if
I truly felt
1:18:38
all the emotions I was representing,
1:18:40
I'd be a wreck.
1:18:41
you have a performance for everyone.
1:18:43
for the servants, for
daddy, for everybody.
1:18:46
and I don't think you really exist.
1:18:49
Roger!
1:18:49
once you told me something.
I don't remember exactly what,
1:18:53
but the exact same night
1:18:54
you said the same line on the stage.
1:18:56
even the things you say are second hand.